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Dove's Latest Tactic To Get Women To Define Their Own Beauty
Unilever's Dove is introducing the latest phase of its Love Your Hair campaign. It's the latest tactic in the brand's broader effort that encourages women to define their own beauty.
Developed with agencies Edelman and VaynerMedia, the project is intended to be a grassroots effort to get the next generation of girls to love their hair by leveraging generational advice. Eight in 10 women feel pressure to wear their hair a certain way.
Dove, therefore, is seeking women to serve as positive role models to impact a girl's confidence. They upload a photo at LoveYourHair.dove.com to create a customized, animated message that they then share with "a special young women in their lives." The messages are short and sweet and refer to loving someone's "bouncy" or "spirally" or "curly" hair, to name a few examples.
At the LoveYourHair site Dove has posted the message about the pressure women feel to wear their hair a certain way. "For many, that pressure begins at a young age," the message states. "But as a mother, parent, mentor, friend–you can make a difference. Celebrate the beauty of her hair today–so she loves her hair tomorrow."
The program will be supported by prominent influencers and bloggers, including Whitney White, Mindy McKnight, Laura Sykora, as well as additional influential moms using the hashtag #LoveYourHair.
Although Dove intends it to be U.S.-focused, this campaign has spread across borders as it discusses a universal message.
Dove's original Love Your Hair project launched in April 2016. One commercial from that effort has received more than 14 million views.
ad campaign, health and beauty aids


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Iranian peoples •
Kurdish people •
History of Kurdistan •
Kurds •
Rise of nationalism in the Balkans •
Kurdish history
History of Kurdish people
Genetic origins of the Kurds
Origins of the Kurds
National Awakening in the Balkans
Demographics of the Kurdish people
Rise of nationalism under the Ottoman Empire
History of the Kurdish people
History of the Kurds
The Kurds are an ethnic Iranian group who have historically inhabited the mountainous areas to the south of Caucasus (Northern Zagros and Eastern Taurus mountain ranges), a geographical area collectiv...
History of the Kurds - Wikipedia
Kurdish nationalism •
Kurds in Turkey •
Turkish Kurdistan •
Kurdistan Workers Party •
Iraqi Kurdistan •
1988 Anfal campaign •
Iranian Kurdistan •
Kurds in Syria •
Kurdish-Armenian relations •
Kurdistan Autonomous Oblast
Kurdish nationalism is the political movement holding that the Kurdish people are deserving of a sovereign nation in their homeland, Kurdistan, partitioned out of the territories in which Kurdish peop...
Kurdish nationalism - Wikipedia
Kurds in Turkey
Kurds in Turkey (Kurdish: Kurdên li Tirkiyeyê; Turkish: Türkiye'deki Kürtler) are the largest ethnic minority in the country. According to some estimates, they compose 15.7%-25% and by others ...
Kurds in Turkey - Wikipedia
Turkish Kurdistan
Turkish Kurdistan or Northern Kurdistan (Kurdish: Bakurê Kurdistanê) is an unofficial name for the southeastern part of Turkey. The unofficial term references the region's geographical and histori...
Turkish Kurdistan - Wikipedia
Kurdistan Workers Party
The Kurdistan Workers' Party, commonly referred to by its Kurdish acronym, PKK (Partiya Karkerên Kurdistani) is a terrorist Kurdish organization.From 1984 to 2013, PKK fought an armed struggle against...
Kurdistan Workers Party - Wikipedia
Iraqi Kurdistan or Southern Kurdistan (Kurdish: باشووری کوردستان, Başûrê Kurdistanê), also known as the Kurdistan Region (Kurdish: هه‌رێمی کوردستان, Herêmî Kurdistan), ...
Iraqi Kurdistan - Wikipedia
1988 Anfal campaign
The al-Anfal Campaign (Arabic: حملة الأنفال), also known as the Kurdish Genocide, Operation Anfal or simply Anfal, was a genocidal campaign against the Kurdish people (and other non-Arab po...
1988 Anfal campaign - Wikipedia
Iranian Kurdistan
Iranian Kurdistan or Eastern Kurdistan (Kurdish: Rojhilatê Kurdistanê), is an unofficial name for the parts of northwestern Iran inhabited by Kurds which borders Iraq and Turkey. It includes the Kurd...
Kurdish inhabited areas are shaded in blue for areas inside Syria and light blue for areas outside the country.Kurds are the largest ethnic minority in Syria, comprising 10 to 15 percent of the countr...
Kurds in Syria - Wikipedia
Kurdish-Armenian relations
Kurdish-Armenian relations covers the historical relations between the Kurds and the Armenians.
Ancient Corduene, identified as Kurdistan in some sources was twice incorporated into the Kingdom of...
Kurdish-Armenian relations - Wikipedia
Kurdistansky Uyezd (Russian: Курдистанский уезд; Azerbaijani: Kürdüstan qəzası,), also known colloquially as Red Kurdistan (Russian: Красный Курдистан; Azerbaijani: Qızıl Kürdistan; Ku...
Kurdistan Autonomous Oblast - Wikipedia
Xoybûn
Xoybûn or Khoyboun (full name: Xoybûn - Ciwata Serxwebuna Kurd), meaning oneself/being oneself in Kurdish language, was a Kurdish nationalist organization that is known for leading the Ararat rebellio...
Xoybûn - Wikipedia
Human rights in Syria
The situation for human rights in Syria is considered exceptionally poor among international observers. A state of emergency was in effect from 1963 until April 2011, giving security forces sweeping p...
Human rights in Syria - Wikipedia
Simko Shikak revolt
The Simko Shikak revolt refers to an armed Ottoman-backed tribal Kurdish uprising against the Qajar dynasty of Iran from 1918 to 1922, led by Kurdish chieftain Simko Shikak from the Shekak tribe.After...
Simko Shikak revolt - Wikipedia
1991 uprisings in Iraq
The 1991 uprisings in Iraq were a series of popular rebellions in northern and southern Iraq in March and April 1991 after the Gulf War. The mostly uncoordinated insurgency, often referred to as the S...
1991 uprisings in Iraq - Wikipedia
Battle of DimDim
45°10′15.08″E / 37.3601278°N 45.1708556°E / 37.3601278; 45.1708556The Battle of Dimdim is the name for the battle between the Safavid Empire and the Sunni Kurds of Ottoman Emp...
Kurdish culture
Kurdish Culture is a group of distinctive cultural traits practiced by Kurdish people. The Kurdish culture is a legacy from ancient peoples who shaped modern Kurds and their society.Some aspects of Ku...
Kurdish culture - Wikipedia
Caucasus Campaign
The Caucasus Campaign comprised armed conflicts between the Ottoman Empire and the Russian Empire, later including Azerbaijan, Armenia, the Central Caspian Dictatorship and the British Empire as part ...
Caucasus Campaign - Wikipedia
Human Rights Association (Turkey)
The Human Rights Association (HRA; Turkish: İnsan Hakları Derneği İHD) is an NGO for advancing Human rights in Turkey, founded in 1986 and headquartered in Ankara.
The HRA was founded on 17 Ju...
History of the Kurdish people - Wikipedia
Kurdish Rebellion of 1983
The Kurdish rebellion of 1983 occurred during the Iran-Iraq war as PUK and KDP Kurdish militias of northern Iraq rebelled against Saddam Hussein, in an attempt to form their own autonomous country. Wi...
Kurdish Rebellion of 1983 - Wikipedia
Dersim Massacre
The Dersim rebellion was a Kurdish uprising against the Turkish government in the Dersim region of eastern Turkey, which includes parts of Tunceli Province, Elazığ Province, and Bingöl Province. The r...
Dersim Massacre - Wikipedia
Iraqi people
The Iraqi people (Arabic: العراقيون ʿIrāqīyūn, Kurdish: گه‌لی عیراق Îraqîyan, Aramaic: ܥܡܐ ܥܝܪܩܝܐ ʿIrāqāyā, Turkish: Iraklılar) are the citizens of the modern country of Iraq.Arabs have bee...
Iraqi people - Wikipedia
Armenian Secret Army for the Liberation of Armenia
The Armenian Secret Army for the Liberation of Armenia (ASALA) (Armenian: Հայաստանի Ազատագրութեան Հայ Գաղտնի Բանակ, ՀԱՀԳԲ, Hayasdani Azadakrut'ean Hay Kaghtni Panag, HAHKP) was an Armenian militan...
Armenian Secret Army for the Liberation of Armenia - Wikipedia
Trial of Saddam Hussein
The Trial of Saddam Hussein was the trial of the deposed President of Iraq Saddam Hussein by the Iraqi Interim Government for crimes against humanity during his time in office.The Coalition Provisiona...
Trial of Saddam Hussein - Wikipedia
First Kurdish Iraqi War
First Kurdish–Iraqi War or Barazani Rebellion was a major event of the Iraqi-Kurdish conflict, lasting from 1961 until 1970. The struggle was led by Mustafa Barzani, in an attempt to establish an inde...
First Kurdish Iraqi War - Wikipedia
Kurdish people
The Kurds (Kurdish: کورد Kurd) are an ethnic Iranian group in the Middle East, mostly inhabiting a contiguous area spanning adjacent parts of modern-day Iran, Iraq, Syria, and Turkey, a geo-cultur...
Kurdish people - Wikipedia
Yazidis in Armenia
The Yazidis (Armenian: Եզդիներ Yezdiner) are the largest ethnic and religious minority in Armenia. They are well integrated into the Armenian society. They have freedom of religion and non-interfe...
Turkish War of Independence
The Turkish War of Independence (Turkish: İstiklâl Harbi, literally "Independence War" or Kurtuluş Savaşı literally "Liberation War" or Milli Mücadele literally "National Campaign" ; May 19, 1919...
Turkish War of Independence - Wikipedia
Kurdistan Workers' Party
The Kurdistan Workers' Party, commonly referred to by its Kurdish acronym, PKK (Partiya Karkerên Kurdistani) is a Kurdish organization.From 1984 to 2013, PKK fought an armed struggle against the Turki...
Kurdistan Workers' Party - Wikipedia

redpajama_set_name: RedPajamaCommonCrawl


Overview: As a frontrunner in instructing, coaching, and reworking boys in Detroit, Jason Wilson shares his personal story of discovering what it means to "be a person" on this life-changing memoir.
His grandfather's lynching within the deep South, the murders of his two older brothers, and his verbally harsh and absent father all labored collectively to type Jason Wilson's childhood. But it surely was his determination to acknowledge his feelings and yield to God's name on his life that made Wilson the person and chief he's in the present day.
Because the founding father of one of many nation's most esteemed youth organizations, Wilson has a long time of expertise in strengthening the bodily, psychological, and emotional spirit of boys and males. In Cry Like a Man, Wilson explains the risks males face in our tradition's definition of "masculinity" and offers readers hope that therapeutic is feasible.
As Wilson writes, "My ardour is to assist boys and males discover energy to turn into courageously clear about their very own brokenness as I make clear the signs and causes of childhood trauma and 'father wounds.' I lengthy to see males free themselves from emotional incarceration-to see their minds renewed, souls weaned, and relationships restored."


Sisters Rebecca and Rachel Doyle from Enniscorthy, County Wexford, were among 2,000 members of the public allowed to view the counting process at Dublin Castle.
"It feels brilliant, especially since we thought it was going to be so close and now it looks like such a definite 'Yes'," Rebecca told NBC News, adding that the experience was "emotional."
"This shows how much we've changed, how attitudes are changing, to see all of the young people come out to vote, that wouldn't usually vote who wouldn't normally be interested in politics."
Rachel added: "This was my first time to vote, because I'm only 18, I'm glad it was something so important to me, I feel that my sister should be able to get married."


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Home News BJP's Promotion Of The Accidental Prime Minister Is A Political Stunt: Amarinder...
BJP's Promotion Of The Accidental Prime Minister Is A Political Stunt: Amarinder Singh
Punjab Chief Minister Captain Amarinder Singh on Sunday ridiculed the Bharatiya Janata Party's efforts to promote The Accidental Prime Minister', based on Manmohan Singh's tenure as India's prime minister from 2004 to 2014, just ahead of the Lok Sabha elections as a political stunt.
He said that their attempts to promote the Vijay Gutte film are aimed at demeaning the Congress, which registered a victory in three Hindi Heartland states of Madhya Pradesh, Rajasthan and Chhattisgarh. Amarinder Singh also described the BJP's attempt to use the movie, which seeks to project Manmohan Singh as a weak and docile prime minister, as not only childish but brazenly politically motivated.
Promotion of #TheAccidentalPrimeMinisterTrailer by @BJP4India & its leaders on social media a political stunt aimed at demeaning @INCIndia ahead of LS elections, It shows their desperation & frustration in face of imminent defeat.
— Capt.Amarinder Singh (@capt_amarinder) December 30, 2018
The Punjab chief minister said that the use of the movie's recently released trailer by the BJP, which was tweeted from the party's official twitter handle and promoted by many of its leaders on the social media, to criticize Manmohan Singh clearly showed their desperation and frustration in the face of their imminent defeat in the upcoming Lok Sabha elections.
Lambasting the BJP for resorting to cheap politics to strengthen their electoral chances ahead of the 2019 Lok Sabha polls, Amarinder Singh advised them to accept the harsh reality that they had lost the support of the people.
Singh added that even the worst critics of Manmohan Singh could not find fault with him and using the movie is the BJP's futile attempt to undermine the Congress.
I personally know Dr. Manmohan Singh ji to be an intelligent & independent leader. In any case, @INCIndia leadership and Smt. Sonia Gandhi ji have never believed in interfering with functioning of their leaders. #TheAccidentalPrimeMinisterTrailer projects a complete lie, he tweeted.
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Source: Tufts University. http://now.tufts.edu/news-releases/fat-molecule-ceramide-may-factor-muscle-loss-. 31 October 2012. Accessed 20 November 2012.
Source: PLoS ONE. 2008; 3(12): e3910. Published online 2008 December 11. doi: 10.1371/journal.pone.0003910. Accessed 2 October 2012.


Last week, Jessica Alba introduced the world to what might be the cutest diapers ever. The new Honest Company baby basics are anything but basic. Decorated with images of macarons and the Eiffel Tower, the diapers could actually be called chic. But I didn't attend the launch event for these products because I'm on the baby beat. I went because I wanted to grill cofounder Jessica Alba about every aspect of her beauty routine. What I ended up with, however, was the inside scoop on the company's forthcoming line of Honest Beauty hair products—for grown-ups, of course.
When I asked Alba if this was on the record—it was the first I was hearing about it—she said, "I think people know we're coming out with hair care." She went on to list "sea-salt spray," "conditioning milk," "hair oil," and "root lift" as the products she's been experimenting with and loving from the line.
As for her instructions, "I do the sea-salt spray at the root, and I use conditioning milk at the ends. Then I scrunch. Right before it's completely dry, I'll mist with the oil. It's awesome. We have a hair oil that's like a mist," she said. She recently put them all to the test at the Dior show at Paris fashion week and for the Vanity Fair Oscar party. "The hairdresser used our root lift and all the other products, and it held the whole time. They really work, they really hold, and they smell amazing." As with most of the other scents in the line, the fragrances of the hair products are inspired by Alba's favorite vacation spots and the familiar scents of her childhood.
I tried digging for more information, but that's all she would divulge. When I reached out to her team for a comment they could only confirm that the line will launch in October and they would keep us posted. So sit tight, be patient, and look forward to finally having all the ingredients to achieving Jessica Alba's enviable waves at home.


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3 Google Buzz Privacy Concerns
Google Buzz has come under scrutiny for a handful of privacy concerns as users start to toy around with the Gmail- and mobile device-based social networking platform.
By Andrew R. Hickey February 11, 2010, 08:40 AM EST
Buzz takes one part Facebook, one part Twitter, one part YouTube and one part Flickr and blends it for a social networking platform lodged directly into Gmail. So far, Google Buzz has been receiving mixed praise. As with any new platform where people share information, however, privacy is a huge question. People post personal information, photos and other content to share with friends, not with the world. It's up to Google Buzz to keep that information to its intended recipients.
Early on, Google Buzz has come under scrutiny for lacking some fundamental privacy and security. Here are three areas Google Buzz needs to tighten up before users will be confident enough to make it their single social networking service:
1. Google Buzz automatically imports contacts and shows them as friends. One of Google Buzz's biggest selling points is its auto-follow feature, which automatically makes Buzz users friends with the people they communicate with most through Gmail -- if those people are also using Buzz, of course. However, Google Buzz has already come under fire over the auto-follow feature, PC World reported. Essentially, Buzz starts following those people and makes that list public, meaning strangers get a look at who Buzz users are in contact with. Not only that, but friends also get a look, raising a different concern altogether. "Imagine ... a wife discovering that her husband e-mails and chats with an old girlfriend," the Silicon Valley Insider noted. "Imagine a boss discovers a subordinate e-mails with executives at a competitor." In Google's defense, Buzz users can turn that feature off, though it is set as a default. Also, it only shares that information with other Buzz users who have set up profiles. Either way, it's information many Buzz users might not want to share.
2. Google Buzz grabs photos without a user uploading them. This one may be rare, but over at CNET Molly Wood discovered an interesting privacy hole in Google Buzz: It "appears to grab photos off my Android phone that I've never uploaded." According to Wood, when she enabled Google Buzz it automatically started using a photo on her personal Buzz page that she'd taken with her Google Android smartphone and never uploaded to Google Buzz. Let that be a warning to Buzz users that photos stored on their Android devices may very well be broadcast to friends and contacts, whether they like it or not.
3. Google Buzz can pinpoint and broadcast your exact location. Yes, Google Buzz is designed to keep friends and contacts connected and let them share content. But do users really want all of those contacts to know exactly where they are at all times, right down to the street number? With Buzz for mobile devices, it can do just that. When users visit the mobile app via Android, they are asked whether they want to share their location or not. That location can also be saved and remembered as a preference if users want. Essentially, the service reveals users' location every time they make a post. Forrester Research Analyst Augie Ray told eWeek.com, that an "area of concern may be the way Google's mobile app allows people to give permission to automatically report their location. That's the sort of 'set it once then forget it' setting that can catch the casual user unaware." Users can choose not to broadcast their locations, but as we've learned, any extra step can be overlooked.
Applications and OSes


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Biografia
Allievo di Karl Popper, ricoprì incarichi di insegnamento in Gran Bretagna presso la London School of Economics, in Canada alla York University, negli Stati Uniti all'Università dell'Illinois e a quella di Boston, nonché all'Università di Hong Kong. Da ultimo lavorò all'Università di Tel Aviv, dove fu anche professore emerito. È autore di numerosi testi in inglese ed ebraico.

Sposò Judith Buber Agassi, nipote di Martin Buber e figlia di Margarete Buber-Neumann, nel 1949. Negli ultimi anni visse a Herzliya, in Israele.

Opere tradotte in italiano
 La filosofia e l'individuo (2005), Di Renzo Editore - prefazione di Dario Antiseri
 Scienza, metodologia e società (2004), LUISS University Press
 Dialogo senza fine. Una storia della scienza dai greci ad Einstein (2000), Armando
 La scienza in divenire. Note a Popper (1997), Armando
 Le radici metafisiche delle teorie scientifiche (1983), Edizioni Borla

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
The Moguldom Nation
MogulWatch
Eskom Influence Growing In Proposed South African Nuclear Tender
From City Press. Story by Yolandi Groenewald and Justin Brown.
The "fear of nuclear" and criticism of South Africa's new nuclear build program are largely about the cost rather than the technology, said Brian Molefe, CEO of Eskom, South Africa's public electricity utility.
Eskom has not only thrown its weight behind the country's proposed new nuclear project, but is increasingly taking charge of what South Africa's nuclear future will look like.
While South Africa's energy department will choose the successful vendor, Eskom, as the owner-operator of the new nuclear plants, will have a large input.
David Nicholls, chief nuclear officer at Eskom, gave delegates a glimpse this week of Eskom's vision for nuclear by defining a leading role for the state utility at the Power-Gen and DistribuTech Africa conference in Johannesburg.
A chosen vendor will lead the early process with Eskom's input. This is how South Africa's only operating nuclear plant, Koeberg, north of Cape Town, was built in the 1980s, he said.
Once the design base has been established with the first plant, South Africa will increasingly take charge.
Nicholls' remarks show that Eskom is in favor of a proven standardized fleet of reactors, with sibling international plants to learn from. This indicates South Africa is likely to choose one vendor and stick with them.
"The trick is then to move from the initial vendor-led process to one where – after a certain time and number (of plants) built – South Africa takes over," he said.
Nicholls said Russia, through its state atomic energy corporation Rosatom, is supplying the majority of new nuclear capacity being built internationally.
Vendors from Russia, France, South Korea, the U.S. and China are all hoping to win the lucrative South African nuclear contract.
South Africa has opted for a pressurized water reactor technology, which is a proven technology. "If you want to be in line with the world, choose what most build. Do not be experimental," Nicholls said.
The average cost for a nuclear plant these days is about $4,500 per kilowatt.
South Africa plans to add 9,600 megawatts of nuclear power with its new nuclear build program, putting the price tag for the program at about $42.85 billion.
"The price comes down as we order more," Nicholls said.
Prices for new reactors fall by 40 percent of the initial price after a fourth reactor is commissioned.
Vendors say they'll be able to quote more accurately after receiving the much-anticipated request for proposal from the South African government, expected before the end of the year. In the long run, nuclear is the best option for Eskom, which is desperate to cut its emissions, Nicholls said.
He emphasized that after the initial huge investment, nuclear will become cheap to operate and maintain.
The first nuclear plant will be Thyspunt, near Jeffreys Bay, because the Eastern Cape is in dire need of reliable base load power, Nicholls said. The second site will be in Duynefontein, next to Koeberg.
"After that Eskom plans to build a plant somewhere in KwaZulu-Natal," Nicholls said.
Read more at City Press.
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July 24, 2016 by Staff
Category: AFK Insider, Business, Electricity, Energy, Google News, Politics, Tech.Tag: Africa, cost, Eskom, influence, nuclear, Rosatom
Image Attribution: Beach goers in front of the Koeberg power facility in Cape Town. Photo: Nic Bothma/EPA/Daily Maverick
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For years Cube Management has been recognized as a national leader specializing in the sourcing, screening and securing of top IT Outsourcing Candidates for our clients. As a result, IT Outsourcing Candidates seek us out requesting assistance in their IT Outsourcing career move. Our IT Outsourcing Candidates database contains thousands of the top IT Outsourcing professionals waiting to hear about an outstanding career opportunity. In addition, we have one of the strongest referral networks in the industry. Shouldn't your resume be in our database so that we can let you know when we find an opportunity that fits your background?
Your most effective career search outcome will be obtained from working with a professional that has the industry knowledge and hiring experience to deliver you an effective IT Outsourcing sales position.
So if your looking to capture a position in the growing IT Outsourcing market you need to know that your resume will get in the hands of the top hiring managers in the industry. We understand the complex sales, customer service, and implementation market that is the IT Outsourcing industry. Very few recruiters specialize in finding the right mix of "Hunters", "Farmers" and "Deliverers". Contact our recruiters now.
At Cube Management, we take the guesswork out of making critical sales hires that are essential to achieving business success. We know sales and marketing — it's a focus of ours! We have years of proven success in building and leading winning teams, in technology, manufacturing, retail, financial services, energy, travel, transportation, healthcare and business services. We use industry Best Practices to consistently deliver "A" Level IT Outsourcing Candidate who can take our client companies to the next level.
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So what are you waiting for? Join the IT Outsourcing Candidate team today. Apply to one of our IT Outsourcing positions. By simply applying, your resume will be added to our IT Outsourcing Candidate database and one of our recruiters will review your background and experience. If they feel there is a strong opportunity for you to get an interview with our client, they will contact you directly and begin exploring the potential of finding you your next great career opportunity!
"If you can get the word out about Don't Interview... Audition!, you will sell a lot of copies, because it is the best eBook I have seen and it is written the correct way.."


MD Management (MDM) was set up in 1986 as a financial advisory company and has been regulated under the Financial Services Act (FSA) since that year. Since 1988 the company has concentrated on developing niche market expertise in investment analysis and corporate information which is based around the CompanyNews web site.
The company is now regulated by the Financial Services Authority and, in addition to the STAR service, provides regular updates and analyses of all UK IPOs and flotations on the LSE Main and AIM markets as well as on OFEX. Research work on the STAR methodology started in late 1987 when the company worked closely with leading stockbrokers such as James Capel (now HSBC)and Phillips and Drew and later supplied services to Sharelink and City Deal.
MDM set up the New Issues Centre for Interactive Investor in 1999 and, for the past three years has supplied this leading financial web site with IPO content. The STAR service was first produced as a printed monthly bulletin in 1992 and has been produced regularly every month since then. In January 2002 MDM and HS Financial agreed to produce STAR jointly as a monthly online service.
John has over 25 years' experience as a consultant economist with international institutions including the United Nations and the EEC. He also has extensive commercial experience of professional investment analysis and portfolio management with, among others, National Westminster Bank Investment Division and GEC Pension Fund. John founded MDM in 1986 and he is also editor of the STAR bulletins and the New Issues monthly review.
Simon has detailed knowledge and experience of the UK media and newspaper environment previously with the Express Newspaper group and as a director of PR specialists Ludgate Communications and more recently as Deputy Managing Director of the Mirror Group.
He has been a specialist financial journalist for some 40 years including 25 years with the Financial Times, where he was Commodities Editor and later Personal Finance Editor. During that time he was a regular broadcaster on BBC World Service and also the author of several books on the world commodity markets and personal finance. Since taking early retirement, he has expanded his freelance activities and currently edits the New Issues Bulletin, as well as contributing personal financial articles to various magazines and newspapers. He also works as a part-time consultant for a leading firm of independent financial advisers.
Author of several books on personal finance, including the Sunday Times Guide to Tax-Free Savings (1996); editor of the investment newsletter The IRS Report (1991-); a contributor on personal finance and investment to the Daily Telegraph, Sunday Times and Radio 4's Moneybox (1979-). He has extensive experience of magazine and newspaper editing (What Investment, Traded Options Newsletter, Unit Trust Newsletter, 1982-88); design and presentation of investment seminars for the public and IFA's (1988-) and the creation of audiotape programmes for investment managers (1986-).
Former City Editor who writes a regular column in the Evening Standard. He is also a regular contributor to the leading monthly personal finance magazine "Money Observer" and Editor of the "Smaller Companies Review" a quarterly newsletter about smaller cap companies.
Originally qualified as a stockbroker on the New York Stock Exchange, but subsequently moved into international corporate communications for several leading companies and Public Relations consultants. She has extensive experience in speechwriting, corporate literature and shareholder communications including annual reports, brochures and videos.
An investment analyst with a wide experience of the markets having worked as a financial journalist, a merchant banker and a foreign exchange consultant for an American bank. She is the editor of "The Speculator", a fortnightly publication which covers both the financial and commodity markets. A member of the Society of Technical Analysts committee, she is responsible for editing the Society's Journal and also acts as a consultant to a number of companies.
STAR Online is a service provided by MD Management Ltd, an independent investment advisory company. The company is regulated for investment business by the Financial Services Authority. MD Management specialises in investment research and analysis and does not deal directly with individual clients.


When I went to visit my sons in London last March, I bought some yardages of Liberty fabrics.
The problem in Liberty's shop is that you cannot buy less than one yard, which limits you as they are quite expessive.
So, recently obsessed with those prints, I searched the web and was happy to find a very good site selling fat quarters of Liberty fabrics. The prices are reasonable and the shipping is very fast.
These Liberty prints remind me of my youth, some are still the same as those I was using when sewing cushions for my new studio in Paris!
Bonne journee a toutes mes amies quilteuses francaises!
That's a very nice stay of Liberty fabrics that you have, I'm happy for you that you've found a place to purchase fat quarters.
I didn't know about the one yard minimum. Unusual way to sell fabric. They aren't thinking of quilters.
That mail would make me happy too! Good for you!
Les regarder, les admirer, les toucher (ils sont si doux) et oser les couper!!! Tout un programme!
C'est bien vrai Cecile, c'est pourquoi je les utilise a "petites doses" en les integrant a d'autres moins onereux.
Such a precious parcel you got! I love them all. You know that there is a shop in Athens who represents Liberty Fabrics and they can sell even 20 centimeters of each. The name is CANELLO, owned by the Kanellopoulos sisters and it is on Christou Lada str. No. 9 in the center of Athens. Their price is €39 a meter. I don't know if the price you bought yours is different. They also have Harris Tweeds and some other beautiful fabrics.
Myrto. thanks a lot for this address, I will run to see their fabrics, I love as well Harris Tweeds. As regards the Liberty fabrics, I paid 6.30 eur per fat quarter and 8 eur for the shipping.
Bonjour Christine, Quel bien joli blog, merci de nous faire partager vos idées et vos réalisations et tutos. Je vais m'en inspirer !
Merci Nefertitie! Je suis flattee d'etre source d'inspiration!
Your fabrics are beautiful. Please let us know what company you used to buy the fat quarters.
Thank you. The name is written on the card on the fabrics.


2. Make all the configuration for the e-mail sending and invitation application to be able to send e-mails to users.
3. Go to invitation page. Type an e-mail, title, description and click the button Invite.
4. You will get the message " Your message has been sent."
5. Reload this page with the information message multiple times.
6. Check the list of invitations. Check also the personal e-mail.
The action reloading the page with the message " Your message has been sent " will create a new invitation with the same Subject, e-mail and content.
Because it`s only a confirmation page, it shouldn`t create new invitations after reloading it.


Централизованное тестирование. Английский язык: полный сборник тестов, 2014 год. Вариант 32.
I tried to make my voice sound ... when I answered the phone.
We asked for ... opinions about the Olympics.
A new cordless phone priced at (1) three hundreds dollars (2) will be available in the shops (3) from September (4).
A good teacher helps students learn (1) by theirs (2) and encourages them not to give up (3) when (4) they have problems.
Despite (1) you have failed your exams (2), you should carry on (4) with the course (4).
It was such (1) a nice day in the valley (2) that there was a surprise (3) to hear that it was snowing in the mountains (4).
We are going to the disco now.
A. It's disgusting. People shouldn't leave their rubbish behind. They should take it home in a bag.
B. Oh, what a shamel I was looking forward to a day by the sea.
C. I know! Let's get some rubbish bags from the supermarket and clean the place up.
D. Look at the beach How awfull!
E. Yes, or the council should provide bins.
F. It looks like the rest of the world had the same idea — look at all that rubbish!
What did June discover when she first retired?
1) She had more free time than she expected.
2) She had not really been very happy in her job.
3) She no longer found her old hobbies satisfying.
What does June say about the teachers on the access course?
1) They are very patient with the more mature students.
2) They appear to be genuinely interested in what they teach.
3) They have problems dealing with such a variety of students.
1) anxious about her garden.
2) enjoying what she's currently doing.
3) determined to take a degree.
Which person thought her chosen form of study was reasonably priced?
I had lessons in Hindi at a local language school. Unfortunately the only class available at my level was late in the evening. So after a long day at school, and then all the written homework we have to do, I didn't have a lot of energy left for language learning. Also, some of my classmates were much older than me and I didn't really get to know them. But that didn't matter because whenever we did group activities, which I'd never done before, but took to straight away, I made sure I was with the younger ones. I was having lessons every evening and that was costing my parents quite a lot, but we'd booked to go to India later that year so there was no time to lose.
I really want to learn Polish so I bought a course of language lessons as an MP3 to play on my iPod. That meant I could work on it anywhere I went, particularly at those times when you've got nothing to do, like standing at the bus stop. Once I was concentrating so hard on getting a grammar point right that I completely forgot I was on the bus and I started repeating restaurant phrases aloud. I felt a bit uncomfortable when I noticed everyone looking at me, so I didn't do that again. Actually, one problem with learning on my own was not knowing when I was saying words properly and when I wasn't. Overall, though, it was a useful course and I think it was good value for money.
I used the Internet to improve my Spanish. It cost nothing, of course, and although at first I didn't know quite where to look, in the end I came across some great websites where I could practise reading and listening and do grammar exercises. At the same time, I was joining social networking sites and getting in touch with Spanish-speaking teenagers from various parts of the world. I also tried online chat in Spanish, but I couldn't keep up with people. All the time I was thinking about my grammar and it was taking me so long to reply to each sentence after I'd read it that I didn't think it was fair on them, so I gave up. I'll try again sometime, though.
I was living with an English-speaking family and the idea was that I'd pick up a lot of language by being there with them, but it just wasn't happening. Everyone watched television all the time and rarely spoke to me. After a week I left and moved in with a couple who had young children, and that was better. They were all very friendly and I could chat with them anytime, really. When I got things wrong they would often correct me and I think that helped me improve my speaking a lot. I would also have liked to be nearer the city centre, because the house was so far out of town that I couldn't get to the kinds of places where other teenagers went in the evenings.
Which person felt rather tired when she was studying?
Which person believes that she learned from her language mistakes?
Which person was unable to write quickly enough?
Which person missed going out with people of her own age?
Which person eventually found the learning materials she needed?
Ali Baba's restaurant in central London is one of the best restaurants I've been to for a long time. It has an extensive range of Turkish dishes including plenty of choices which are (B1) ... even for vegetarians. The restaurant has a very pleasant atmosphere. At weekends diners can enjoy performances by Turkish singers and dancers. We are sure that you will have an (B2) ... evening if you go to Ali Baba's. You will also find it unexpectedly (B3) ... . A meal for two will cost roughly £20 on condition that you stick to the house wines. But there is an excellent (B4) ... of these on the wine list.
A large part of the north of England it was hit by a raging storm which swept across the country yesterday, leaving a trail of damaged buildings behind it. Large numbers of injured people which were treated in hospitals. One man, a retired postman who lived in Leeds, died after he was struck on the head by a falling roof tile (черепица).
There was chaos on the roads such as many were blocked by fallen trees. The unexpected storm now threatens to bring floods to the area, as the still rising waters of the River Ouse they have almost reached danger level.
There's orange or tomato juice — you can have (любой).


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Otherwise Occupied
For Israel, It Seems Goliath Was the Victim
An Israeli MK says the Philistine giant had the right to defend himself against David, explaining why stricter punishment is needed for stone throwers. At least he recognizes who the underdog is these days.
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File photo: A Palestinian boy hurls stones towards an Israeli army tank during clashes in the West Bank town of Jenin April 16, 2003.Reuters
Goliath also had the right to defend himself against David. That's what we can understand from the words of MK Nissan Slomiansky (Habayit Hayehudi), chairman of the Knesset Constitution, Law and Justice Committee, when he presented the bill seeking stricter punishment for stone throwers. "David killed Goliath, the strongest Philistine of all, with a stone," said Slomiansky. "In other words, a stone can kill."
Death penalty for stone throwing
Video: Palestinian stone-thrower killed by Israeli officer was fleeing when shot
Knesset panel to advance bill against stone throwing
Soldiers wound seven Palestinian students in stone-throwing protest
Palestinian stone throwers and Israelis speak different languages
If not with a stone, then with what?
Stone-throwing, an old Jewish custom
From the infancy of our state, we required biblical imagery in order to strengthen our hold. To the best of my memory, our teachers in school always boasted that we were David, and that it wasn't just a slingshot needed to kill Goliath but also brains and agility.
How great was our Schadenfreude for the huge, clumsy Goliath. Although we were never "David" against the Palestinians, that's how we pretended to be. Slomiansky gave up on this pretense, and his frankness is commendable. He could quoted the statistics of stone throwing and its breakdown by regions in "Yeshastan." But he found it difficult to relinquish the founding myth. Rather, he reversed its use and proved who we really are: Goliath. Goliath the victim. The unfortunate Shlimazel Goliath.
The amended law toughening the punishment for those convicted of stone throwing is not exceptional. It is merely an expression of the 48-year traditional treatment of those we are occupying.
We refuse to listen to their objections to our rule and the pure logic of their resistance. Instead we respond with harsher means. We answer the Palestinian violence (which was always but always a response to our fundamental violence) with many times greater ferocity. And we define those who resist as criminals.
The Palestinians are not the first to respond violently to the institutional violence – both military and bureaucratic – forced on them. And we have no copyright on the criminalization of the struggle for independence. Prisons in other repressive countries were and still are filled with prisoners – resistors – and, like here, their legislators and judges found and find scholarly arguments to criminalize any protest against the injustice.
Since 1967, Israel has arrested and jailed some 800,000 Palestinians (according to estimates from the Palestinians' Ministry of Prisoners). According to Palestinian estimates, some 70 percent of Palestinian families have had one or more family members serve time in an Israeli prison, for actions against the occupation. So, the natural conclusion of our wise leaders is that this is not enough, and we must reach 105 percent of the families.
We declared the Palestine Liberation Organization a banned organization and repressed all its activities – and Islamic Jihad and Hamas bloomed. We answered the stones of those who rose up in the first intifada with rock-throwing machines and broken bones, and the killing of protesters and curfews. That's how we prepared the ground for popular support for the militarization of the uprising.
To the popular committees and leaderships, we answered with mass-detention camps. Four hundred Hamas activists were deported to Lebanon – a golden opportunity for a political, military and patriotic communion for which the Islamic Movement should be grateful to Israel to this day.
We found a brilliant answer to the PLO's willingness for an agreement: the Oslo fraud. You Palestinians will continue to live in your enclaves; we'll expand our hold on Yeshastan (including East Jerusalem), and the world will call this the peace process.
We also found an appropriate response for the 1994 Baruch Goldstein massacre in Hebron: A curfew and the destruction of ancient Palestinian Hebron. Suicide attacks served to retrospectively justify all the repression and killing that went before. The oppression works for certain periods – and then comes another explosion.
The Israel Defense Forces' immediate response to demonstrations during the second intifada was the killing of protesters. It reinvented collective punishment following isolated Palestinian shooting. The answer to suicide bombings was invasions and mass killings; to Qassam rockets – the destruction of entire neighborhoods; to Grad rockets – even greater destruction. And Iranian rockets – the destruction of all of Gaza. And we always adhered to the doomsday weapon: the greatest robbery of lands in the West Bank and East Jerusalem.
Our legislators and leaders tell us repeatedly this is all the Palestinians' fault. These foolish criminals don't understand the language of oppression. They don't understand poor Goliath and his capabilities: Look, a few more dead, a few more prisoners and injured – then they'll understand.
This is why, satisfied by the explanation of the stupidity of the Palestinians, the startup nation isn't wondering to itself: Maybe these methods our leaders are using simply don't work? The social-protest generation, so satisfied by its criticism of the standing army's pensions, continues to support the concept of escalation. As far as Yeshastan is concerned, the nation of high-tech and social protests refuses to reach the conclusion that what has failed is oppression.


I am always amazed at what the students put together in such a short time. We have a Silent Film festival at the end of ever semester. Not all the films could be placed on the website - as the students get better and more inventive the files get larger. Here are some I have been able to upload.


Rotary Brushes to fit scrubbing machines and polishers.
Rotary Brush Poly: 40cm medium bristles. Quick Release. To suit polisher & scrubbing machines.
Rotary Brush Poly Soft 40 Cm Q/Release To suit Polisher & Scrubbing Machines.


Never before has tax been more important to governments, taxpayers and other stakeholders. Increased global compliance requirements, together with a greater need for robust controls to manage tax risks and a desire to use data analytics to assist in business wide decision making processes are all impacting tax functions and their investment decisions.
To remain relevant to the business, tax functions will need to manage these growing external pressures and operational challenges by charting a course for continuous transformation that is immediate, holistic and practical.
The tax function of the future will look significantly different from today's; companies that find ways to bridge the gap between this future state and their current capabilities will be the ones to succeed.
PwC's Tax Function of the Future series explores their global predictions for the tax function, the challenges arising and how these need to be tackled by companies in the next three to five years.
PwC's predictions for the tax function in these areas can be found in their report.
"In addition, global megatrends are radically changing the way businesses, including the tax function, operate," adds Botha. In particular, shifting global economic power, demographic changes and technological breakthroughs have already affected the tax function. They will continue to shape the tax function of the future alongside ongoing internal pressures such as operational and technological inefficiencies.
The analysis suggests that global tax information reporting requirements will grow significantly and will have a material impact on the operations and related budget allocations within the tax function. The proposed country-by-country reporting (cbCR) in the Organisation for Economic Co-operation and Development's (OECD) BEPS Action Plan represents a significant development for today's multinational companies. This proposed reporting will require companies to provide information on their global allocation of profit, taxes paid and certain other indicators of economic activity among the countries in which they operate (for example, where employees are located).
Tax will also need to provide assurances to authorities and other stakeholders on the adequacy of the controls and process framework it uses to manage risks. "If an organisation has clarity around tax management, its tax strategy will be aligned to its business strategy, and this will help to reduce reputational risk and tax disputes," adds Botha.
Going forward, tax professionals will also require strategic risk management skills. The ability to assess tax risk has historically been a core skill, but this skill will need to evolve to include how tax risk is being managed across the business and how that aligns with the overall goals of the organisation.
The tax function won't be able to solve these challenges with a one-dimensional approach. It will be necessary to take an integrated approach that is cross-functional, involving governance, data, technology, processes and people.
According to PwC's report, the critical first step will be for companies to assess the current capabilities of the tax function against a tax maturity model, followed by the development of a clear vision of the desired future state. The future state should be achieved by developing a tailored transformation roadmap with measurable objectives and timelines that address the process and technology needs, together with the associated risk management objectives.
"The tax transformation journey will not be easy, but it is now imperative and the return on investment can be significant for companies. Beyond measurable cost savings, it will improve other areas such as enterprise-wide risk management, tax governance, resource management and recruitment processes," concludes Botha.


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TelecityGroup builds fourth data center in Dublin
Its second in the suburb of Blanchardstown
25 February 2015 by Nick Booth - -
One of Telecity's existing data centers in Dublin
TelecityGroup has announced that Phase I of construction of its fourth data center in Dublin is expected to be complete in the summer.
Construction is under way in a site in the north west Dublin suburb of Blanchardstown, on the grounds of Northwest Business Park. The site provides potential for 27,000 square feet of data hall space, has access to 7MW of power and 60 network carriers in the region.
The new site is walking distance from an existing site in Blanchardstown and in close proximity to Telecity's two other facilities in the south west suburbs of Dublin, at Kilcarbery Park and City West Business Campus. The new data center will create 10 engineering jobs within the company.
TelecityGroup recently announced a merger with Interxion to create a $2.2 billion corporation that is set to become Europe's largest data center provider.
MD of TelecityGroup Maurice Mortell said Dublin is increasingly attracting US companies looking to expand into Europe. "It was this high demand for TelecityGroup data centers in Ireland that drove our major expansion in Ireland in 2011," said Mortell. "Since this expansion just over three years ago, our business in Ireland has grown considerably."
Both Microscoft and Google invested in large facilities in Dublin in 2014. However, issues over data sovereignty emerged last year, when Microsoft was held in contempt of US courts for refusing to let the US government access customer emails stored in its Dublin facility.
Telecity, Interxion - the marriage of the year?
Telecity data centers to host Alter Way open source cloud
China Telecom expands European coverage through Telecity


Winner of the McKitterick Prize 2012.
Adele is in a mess. On her own with her young son, struggling to cope with her job as a teacher, and stuck in a disastrous - and dangerous - affair, her life is unravelling. The sharp contrasts and certainties she experienced during the years she spent as a child in far-off Senegal have faded to a distant blur. Then, one night, when she looks in the bathroom mirror, she sees the face of Ellena, a girl she knew in those carefree days, staring back at her from the glass.
As the daughter of a nightwatchman in exile from the brutal conflict in Liberia, Ellena's childhood was far from the idyll of Adele's memories. Her mysterious appearance sets in motion a chain of events that takes Adele back to Africa, in the hope that she can make amends for a heartless act that broke the girls' friendship and damaged Ellena's family irrevocably.
Africa Junction artfully interweaves the stories of dramatically different lives and experiences - a Senegalese boy setting sail for Europe, a Welsh teenager running from Timbuktu, a young girl escaping from a life of slave labour in Mali - but at its heart is Adele and her quest.
From the rain-drenched streets of Britain to the sun-baked reds and yellows of Senegal and the violence of Liberia's civil war, Africa Junction follows one woman's attempt to draw the threads of her life together. Out of the quagmire of violence and hardship there emerges a tentative vision of common humanity and, ultimately, the possibility both of redemption and of love.
"Africa Junction takes the many threads that bind or separate its characters and weaves them into a compelling story. Baily opens a door onto the harsh, dazzling landscapes of Senegal and Mali, the anguish of children sold into slavery by their parents, the determination of a boy to find his sister, and the mystery of friendship between two girls whose lives soon tear them apart. Africa Junction beautifully expresses the search for survival, love and meaning that drives each one of Baily's characters."
"Each chapter in Africa Junction can almost be read as a single story yet each feeds masterfully into the redemptive conclusion. … Baily entwines several African stories - a Senegalese boy setting sail for Europe, a Welsh teenager travelling to Timbuktu with her boyfriend, the violence of civil war in Liberia - to shed light on the life-questioning anguish of Adele, a single mother with one son, who needs to piece together her African childhood to make sense of her here and now in the UK.
The African writing is enchanting and frank and fresh, reminiscent of Salinger and Harper Lee. The heat and randomness of childhood are brought to life with honesty and humour, and all the complexity and crossfire of Africa is evoked in this warm-hearted and uplifting novel."
"Ostensibly, the protagonist in this forceful debut is single parent Adele, a teacher living in Devon, nostalgic for her 1970s expat childhood in Senegal, 'its white light tree-climbing days, and hot, black velvet nights'. Yet the first chapter of the novel describes the aftermath of a village massacre during the Liberian civil war. Baily's evocation is terrifyingly intense, focusing on the inert body of an old woman, 'bare black feet, baking in the sulphurous sun'. The astonishing landscapes of Mali, Liberia and Senegal over the last 30 years are compellingly crossed to trace the tale of Adele's African childhood friend Ellena and other parallel fates, depicting an exhausted, vibrant continent scoured by Aids and child trafficking."


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Episode #33 - "The Lazarus Effect" (HORROR!), and "Focus"
You know it's a good night at SPOILERPIECE when we break into a lengthy tangent about Journey, Steve Perry, and the video for "Oh Sherrie," which Kris dubs "fuckin' weird." When we're not talking about eighties pop-rock icons, we're talking about aughts icons Tenacious D, and the movies FOCUS (which...
Episode #32 - The Oscars, "The Duff," and "Hot Tub Time Machine 2"
Ooh! We got your Oscars right here! So we're talking about the glitz, glamor and gauche nonsense that is the Academy Awards. But first we hit the movies we saw this week. Kris made it through THE DUFF, a high school movie that, for Kris, doesn't rank among the great high school movies. Then Evan and Dave saw HOT TUB...
Spoilerpiece Theatre Episode #31 - "Fifty Shades of Grey"
What a week it's been at Spoilerpiece Theatre! The crappy weather here (currently the lead story on several national newscasts) caused several critics' screening cancellations, so all ya get this week is FIFTY SHADES OF GREY, a movie that isn't good, but is as good as any movie could be that started as TWILIGHT...
Spoilerpiece Theatre Episode #30 - "Jupiter Ascending," "The Duke of Burgundy," and "The SpongeBob Movie: Sponge Out of Water"
We spend a lot of time this week on JUPITER ASCENDING, and not because it's good. Because - JAYSUS - it's really, really bad. Like, so bad. You think THE MATRIX sequels were bad? YOU AIN'T SEEN NOTHIN' YET. This movie is a cesspool of overused ideas and underbaked plotlines. Gah. Evan and Dave absolutely lose...


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All posts tagged Weegee
Feast For The Eyes: The Story Of Food In Photography @ the Photographers' Gallery
Two types of art exhibition
There are, maybe, two types of exhibition – the 'open' and the 'closed'. An example of a 'closed' exhibition is the massive William Blake show currently on at Tate Britain, which presents Blake's work in chronological order, explaining his etchings and paintings and illustrations in a cumulative way, so that you really have to pay attention and read all the wall labels to understand what's going on, and to be able to move forward.
In an 'open' exhibition, by contrast, there's just a lot of stuff hung up on the walls and you can wander round and look at whatever takes your fancy, popping in and out, window shopping, snacking, returning to the same rooms later to have another go round. Maybe the curators have organised it a bit by themes, but it doesn't matter too much whether you pay any attention to them – you are, in effect, free to stroll around and create your own route and draw your own conclusions.
Feast For The Eyes is very much an 'open' exhibition. It brings together over 140 works, from black-and-white silver gelatin prints and early experiments with colour processes, to contemporary works of all shapes and sizes and styles, all focusing on the yummylicious subject of food.
Phillip J. Stazzone is on WPA and enjoys his favourite food as he's heard that the Army doesn't go in very strong for serving spaghetti (1940) by Weegee © Weegee/International Center of Photography
The sociology of food
Feeding is a basic activity of all life forms. All of us have to take in nutrition – foodstuffs which can provide protein, calories, fats, essential acids, vitamins and so on.
And for as long as we have had records, food has held a richly varied symbolic and allegorical meaning for peoples and societies – from Eve eating the apple in Paradise through to Mom serving up all-American apple pie in a 1950s kitchen.
New Recipes for Good Eating, Crisco, Proctor and Gamble, Cincinnati. Photographer unknown
The growing, harvesting, preparation, cooking and consumption of food has been accompanied throughout human history and around the globe by all kinds of rituals and celebrations – as are new births, the annual celebration of birthdays, the activities surrounding mourning – all have come with their own traditions of foods and drinks.
Photography and food
So, what about photography and food? Well, as soon as photography was invented, the earliest pioneers – alongside portraits and pictures of landscapes and houses – experimented with taking photos of food. For the most part they arranged and posed foodstuffs in the layouts which had been developed by the painters of still lives.
Still Life with Fruit and Decanter by Roger Fenton c.1860
The exhibition includes some very early three-dimensional or stereographic images produced by the London Stereoscopic Company in the 1850s, two colour images side by side designed to be viewed through a special stereoscopic viewer to create an early 3-D experience.
In the 160 years since Fenton's pioneering work, people have taken countless millions more photos of food of every possible types and shape, from every possible national cuisine, in every possible position and angle, taken in styles which range from early Victorian, through social realism and documentary styles (the poor in Victorian slums or 1930s Depression-era America).
The Faro Caudill Family Eating Dinner in Their Dugout, Pie Town, New Mexico, 1940. by Russell Lee. Courtesy The Library of Congress Prints and Photographs Division
The exhibition includes experimental Modernism of Man Ray and the like, through to 1960s pop art which, Andy Warhol-style, presented po-faced photos of mass produced tins and cans as themselves worthy of interest and respect, like this great blank photo of a tin of spam by Ed Ruscha.
Spam (1961) by Ed Ruscha © Ed Ruscha. Courtesy the artist and Gagosian Gallery
Thus Feast for the Eyes sets out to give examples of pretty much every way food has been prepared, posed and consumed over the past 150 or so years – from a poptastic 1960s art film by Carolee Schneemann of an art happening where a bunch of scantily clad young men and women holding dead chickens rolled and cavorted over each other – to a feast arranged to take place on a long table straddling the USA-Mexico border.
There are collages and cutups, sexy images of rude food, sculpted food, architectural food, and so on. There's everything from tiny old Victorian photos to huge new prints enabled by the latest digital technology by the likes of Cindy Sherman and Wolfgang Tillmans.
Untitled from the series Forbidden Pleasures by Jo Ann Callis (1994)
There is, of course, also a whole world of cookbooks to be explored – dating back as far as the famous Mrs Beeton, and illustrated from the late Victorian period onwards with all manner of photos.
A good chunk of the show features those very distinctive illustrations you used to see in 1950s and 1960s cookbooks, the kind I remember my mum having, where colour printing was going through a very distinctive phase which made everything look like it was under neon lighting, where every food known to man or woman seemed to be coloured either vivid pink or orange or yellow.
Some of the corny old 1950s and 60s cookbooks on show at Feast for the Eyes. Photo by the author
And all that's before you even approach the huge volume of images created to fill the wide universe of advertising every conceivable foodstuff as well as cookery implement.
Classic black and white photography
Insofar as it has been a subject of photography right from the beginning, food offers a way of surfing through the history of photography seen via one topic. Thus the exhibition includes some extremely famous food-related photos – Robert Doisneau's one of Picasso sitting at a table which cleverly replaces his fingers with baby baguettes, or the super-famous image by Henri Cartier-Bresson of two couples having a picnic by the river, the man in the foreground pouring himself a glass of red wine.
Picnic on the Banks of the Marne (1938) by Henri Cartier-Bresson
So there are works by Weegee, Irving Penn, Man Ray and Edward Steichen, classics of black and white photography.
Modern and weird
But there are also plenty of works by new and contemporary photographers, such as Imogen Cunningham, Roe Ethridge, Lorenzo Vitturi – creator of surreal images paying homage to Ridley Road Market in London's East End – and Joseph Maida – the latter represented by a quartet of fancy food images from his series Things R Queer in which he mixes up food porn and Pop art humour, advertising glossiness and Japanese cuteness.
#jelly #jello #fruity #fruto #thingsarequeer (October 26, 2014) by Joseph Maida. Courte
Political photography
And food can be political in the most basic sense that some people have a lot while others have little or none – one of the basic causes of conflict around the world and throughout history. A striking political image in the show is by the French photographer JR, who took an aerial view of migrants having a picnic on a long bench set up across the US-Mexico border, the table covered with a table cloth printed with the eyes of a child migrant.
Migrants, Mayra, Picnic across the border, Tecate, Mexico-USA (2017) by JR
The curators' three themes
The curators have themselves arranged the works under three headings – Still Life, Around the Table and Playing with Food, and their wall labels and explanations group works together into three rooms (which are colour coded, the walls painted a vivid yellow, red and blue respectively). They expand on the themes and discuss issues around the tradition of still lives, or the sociology of eating. They provide plenty of food for thought.
But we are free to ignore them if we prefer, and wander at will, letting ourselves be struck by vivid and arresting images as we come across them, such as this classic depiction of the reality of unvarnished life in modern England by the poet laureate of the mundane and everyday, Martin Parr.
New Brighton, England, 1983–85 by Martin Parr © Martin Parr/Magnum Photos
One of my favourite images was a 1977 still life by the American photographer Irving Penn. Penn had the bright idea of taking blocks of frozen food from his freezer – or more probably of creating blocks of frozen food in a freezer – then taking them out and arranging them as sculptures and photographing them. His photos capture the moment as the blocks of fruit and veg start to melt and the white frosting starts to give way to the true underlying colour of the various foodstuffs. Vivid, creative.
Frozen Food (With String Beans), New York, 1977 by Irving Penn
The show includes works by:
Marion Faller and Hollis Frampton
Rotimi Fani Kayode
Roger Fenton
Peter Fischli and David Weiss
Russell Lee
Laura Letinsky
Nickolas Muray
Hank Willis Thomas
and many others. It is a smörgåsbord of imagery, a tasty buffet of photos old and new, large and small, black and white or coloured, digital and analogue, posed or au naturel, a rich array which creates all kinds of memories, associations and sensations in the visitor (by the end I found I was feeling really peckish – one of the 1960s style photos of swirly vanilla and strawberry ice cream had really pushed my button).
It only costs £5 to visit the Photographers' Gallery, and this is only one of three exhibitions currently on there. Pop along and feast your mince pies.
Feast for the Eyes – The Story of Food in Photography is organised by the Aperture Foundation, New York and curated by Susan Bright and Denise Wolff.
Feast For The Eyes – The Story Of Food In Photography continues at the Photographers' Gallery until 9 February 2020
Feast for the Eyes: The Story of Food in Photography (the exhibition catalogue) on Amazon
Reviews of other photography exhibitions
Urban Impulses: Latin American Photography 1959-2016 @ the Photographers' Gallery (July 2019)
TPG New Talent 19 @ the Photographers' Gallery (July 2019)
Manuel Álvarez Bravo @ the Photographers' Gallery (July 2019)
Jessa Fairbrother: Constellations & Coordinates (March 2019)
Dave Heath: Dialogues with Solitudes (March 2019)
Deutsche Börse Photography Foundation Prize 2019 @ the Photographers' Gallery (March 2019)
diane arbus: in the beginning (March 2019)
Don McCullin @ Tate Britain (February 2019)
The Taylor Wessing Photographic Portrait Prize 2018 @ National Portrait Gallery (December 2018)
Purdah – The Sacred Cloth by Arpita Shah @ Autograph ABP (November 2018)
Liberty / Diaspora by Omar Victor Diop @ Autograph ABP (November 2018)
New East Photo Prize 2018 @ Calvert 22 (November 2018)
Dorothea Lange: Politics of Seeing @ the Barbican Gallery (August 2018)
Family Values: Polish Photography Now @ Calvert 22 Foundation (June 2018)
I Am Now You – Mother by Marcia Michael @ Autograph ABP (June 2018)
Devotion: A Portrait of Loretta by Franklyn Rodgers @ Autograph ABP (June 2018)
Shirley Baker: Personal Collection @ the Photographers' Gallery (June 2018)
Alex Prager: Silver Lake Drive @ the Photographers' Gallery (June 2018)
Tish Murtha: Works 1976 – 1991 @ the Photographers' Gallery (June 2018)
Killed Negatives @ the Whitechapel Gallery (June 2018)
Work in Process @ the Photographers' Gallery (June 2018)
Under Cover: A Secret History Of Cross-Dressers @ the Photographers' Gallery
Deutsche Börse Photography Foundation Prize 2018 @ the Photographers's Gallery
Another Kind of Life: Photography on the Margins @ the Barbican (April 2018)
Andreas Gursky @ the Hayward Gallery (April 2018)
Post-Soviet Visions @ Calvert 22 Foundation (March 2018)
Illuminating India @ the Science Museum (February 2018)
Taylor Wessing Photographic Portrait Prize 2017 @ the National Portrait Gallery (January 2018)
Syria: A Conflict Explored @ the Imperial War Museum (May 2017)
Malick Sidibé @ Somerset House (January 2017)
Don McCullin (March 2017)
Shaped by War by Don McCullin (2010)
Unreasonable Behaviour by Don McCullin (2015)
Paul Strand: Photography and Film for the 20th Century @ the V and A (June 2016)
Beard @ Somerset House (March 2015)
Unseen City: Photos by Martin Parr @ Guildhall Art Gallery (March 2016)
Peter Kennard @ Imperial War Museum London (May 2015)
Everything Was Moving: Photography from the 60s and 70s @ the Barbican (November 2012)
by Simon on November 3, 2019 • Permalink
Posted in Exhibition, Photography
Tagged Andy Warhol, art, black and white, Carolee Schneemann, Cindy Sherman, cookery, cookery books, Daniel Gordon, Ed Ruscha, Edward Steichen, Edward Weston, exhibition, Feast For The Eyes: The Story Of Food In Photography, food, Guy Bourdin, Hank Willis Thomas, Henri Cartier-Bresson, Imogen Cunningham, Irving Penn, Jo Ann Callis, Joseph Maida, Jr., Laura Letinsky, London Stereoscopic Company, Lorenzo Vitturi, Man Ray, Marion Faller and Hollis Frampton, Martha Rosler, Martin Parr, Mexico, Mrs Beeton, Nan Goldin, Nickolas Muray, Nobuyoshi Araki, Peter Fischli and David Weiss, photography, Picasso, Rinko Kawauchi, Robert Doisneau, Roe Ethridge, Roger Fenton, Rotimi Fani Kayode, Russell Lee, silver gelatin prints, Stephen Shore, The Photographers' Gallery, Tim Walker, USA, Vik Muniz, Weegee, Wolfgang Tillmans
Posted by Simon on November 3, 2019
https://astrofella.wordpress.com/2019/11/03/feast-for-the-eyes-food-photography-photographers-gallery/
diane arbus: in the beginning @ Hayward Gallery
Diane Arbus was born in 1923 into a rich and cultured Jewish family in New York City. Her older brother, Howard, would go on to become the American poet laureate. She was sent to a series of private schools. In American terms, it would be difficult to be more privileged. But her father was rarely involved in her upbringing, absorbed in running the well-known Russek department store on Fifth Avenue, and her mother suffered from depression – so Diane and her siblings were raised by a succession of maids and governesses. It was a childhood of alienation and loneliness.
Indeed, Arbus suffered depressive episodes throughout her life and in 1971, at the age of 48, she took her own life while living at an artists community in New York City, swallowing barbiturates and slashing her wrists with a razor.
By that time she had established herself as one of the most influential, visionary and powerful photographers of the post-war period, and her reputation has grown steadily ever since.
The exhibition layout
This exhibition at the Hayward Gallery includes nearly 100 photographs taken during the first half ('in the beginning') of Arbus's career, from 1956 to 1962, giving you a powerful sense of how she started out, of the incredible gift she began with, and how she developed and crafted it into something really distinctive.
All the photos are black and white, and consist of vintage prints from the Diane Arbus Archive at The Metropolitan Museum of Art, New York. They are generally quite small, discreetly framed. The earlier ones are often dark and grainy in texture, shot on the hoof as she captures street scenes. By the early 60s this has changed a lot, the images gain clarity, the prints become larger, more lucid, the subjects more obviously posed and engaged, rather than caught on the fly.
But the first and most striking thing about the exhibition is how they've all been hung. The images are attached to the sides of square pillars which have arranged in a grid pattern in two big rooms.
The images are not in any particular chronological order, and so this 'pillar layout' allows you to wander past them in a number of directions: from front to back, or from side to side, diagonally, or to shimmy through the pillars in a random pattern.
Installation view of diane arbus: in the beginning at Hayward Gallery, 2019. Photo by Mark Blower
If you saw them from above they would make a grid pattern and I suppose this could be said to echo the grid-like layout of the streets of her home town, Manhattan, the pillars representing city 'blocks'.
The result of roaming freely through this forest of images is to make you notice recurring themes and subjects and thread them onto your own strings. Three large themes stick out:
They're all set in the city – urban scenes, streets and cars and shops, snack bars, inside people's homes (generally shabby front rooms and cramped kitchens of cheap apartments) as well as various places of entertainment
They're all black and white, the earlier ones especially (i.e. mid-1950s) having a gritty, late-night film noir feel, almost like the crime scene photos and artless street scenes of someone like Weegee
They're almost all of people. Only three out of the hundred don't feature people as their central focus, and in all three the absence of people is their main affect.
To be more specific, the images include the following recurring subjects:
night-time street scenes, people standing in the daytime street, taxi cabs, passersby
looking into shop windows, down a passage into a barber shop, an empty snack bar
scenes from films and shows broadcast on her television
freaks: dwarves, giants, identical twins
a waxworks museum
Coney Island, famous for its entertainment and sideshows
the changing rooms of female impersonators
unnerving children
fathers holding babies
upper class women, in the street, in art galleries, in restaurants
Jack Dracula at a bar, New London, Connecticut (1961) Courtesy The Metropolitan Museum of Art, New York © The Estate of Diane Arbus, LLC. All Rights Reserved
The subjects most associated with Arbus are circus performers, midgets, giants, freaks and grotesques, transvestites and other 'outsiders' – so we have photos of 'the human pin cushion', of a circus strong man, a contortionist seen over the heads of a watching crowd. These might all come under the heading 'Performers', along with shots of:
Andy 'Potato Chips' Rotocheff doing his impression of Maurice Chevalier
the man who swallows razor blades
the Russian midget
The Jewish giant
the Mexican dwarf
Outsiders, people who perform exaggerate versions of themselves for entertainment.
Female impersonators
Another recurring subject is images of men who made a living as female impersonators in various states of undress in their backstage dressing rooms. I guess they have a combination of cheap glamour with pathos.
Female impersonator holding long gloves, Hempstead, Long Island (1959) Courtesy The Metropolitan Museum of Art, New York © The Estate of Diane Arbus, LLC. All Rights Reserved
Circus acts, sideshow entertainers, female impersonators. They are all people who dress up and perform versions of themselves, who create their identities.
That summary might give the impression Arbus is attracted by the glamour of show business, or be a relative of the countless photographers of Hollywood film stars or Broadway actors. Far from it.
Poor and shabby
Because what all these subjects have in common is that they are poor.
Arbus was born into a wealthy family with nannies and maids, but emotionally stifled, repressed, alienated. The photos indicate that she went out looking for trouble, for worlds which represented the opposite of her privileged, Upper East Side, private school bubble. Slumming down among the proles in their shabby bars, pool halls and bizarre Victorian entertainments.
It's in this spirit that there's a strong thread of grainy, gritty shots of ugly working class people snogging, getting drunk and generally being lowlives at the poor man's seaside resort, Coney Island in Brooklyn. As distant in terms of class, culture and manners, as it was possible to get from her privileged Manhattan background.
the Sunny South Syncopaters at Coney island (scroll to the end of the article)
Little man biting a woman's breast 1958
Couple arguing at Coney island 1960
Note the grainy, foggy quality of the images. There's a good cross-section of her photos in this New York Times article.
The Diane Arbus You've Never Seen (New York Times)
The Macabre
Alongside the depictions of living freaks and performers, there are several images of the dead. For example, a handful of shots from a New York waxworks museum, including a really gruesome one of an elaborately staged crime scene with fake blood spattered over the waxwork figures (Wax Museum Axe Murder).
Nearby is a shot of a corpse at a mortuary, shot from behind the head and showing the rib cage broken open to perform an autopsy.
The photographer of freaks (scroll down to see the corpse)
The Surreal
As a grace note to these images of the grotesque and morbid is a handful of images of the genuinely surreal. Thus she made a trip to Disneyland where she saw a number of stage set 'rocks' parked on the trailers or trolleys which were used to move them around.
Rocks on wheels, Disneyland
But this kind of deliberate and rather obvious surrealism was not her thing, not least because these are objects. Arbus is a people person: weird, disturbing and unsettling people, maybe, but it the strangeness of humanity is her subject, not the wide world of odd objects.
Related to the idea of performance, and of the grotesque, is a whole series of black and white photos she took of films or TV shows. As far as I could tell a lot of these were shot directly off her TV while they were being broadcast, although some also seem to have been shot at the cinema, the camera pointing up at a distorted image on the screen.
Either way, these film still photos are clearly related to the themes discussed above in being hammy or kitsch. Thus we have:
Bela Lugosi playing Dracula
Man on Screen Being Choked,1958
a blonde woman on screen about to be kissed (and looking terrified)
a kiss for Baby Doll (from a movie)
a screaming woman with blood on her hands
As you can see, she's chosen subjects which are cheap, melodramatic and pulpy. They should be funny except that something in Arbus's framing, exposure and printing stops them being funny. Somehow they all suggest an imaginative world of genuine trauma, no matter how hokey its trappings.
Behind the cheap histrionics of Bela Lugosi or the woman screaming, behind the appalling bubblegum world of American culture, Arbus manages to identify something much deeper and genuinely disturbing.
How the weird infects the everyday
And this, I think, was the one big idea which gradually suggested itself as I circulated round the pillars and viewed and re-viewed this jungle of images: it dawned on me that Arbus took the same sensibility which had plumbed the depths of proley entertainment, which had faced the waxwork axe murders, which had tracked down 'the human pin cushion' and captured rough, deformed, chavvy working-class people about their entertainments in cheap funfairs and seedy pool halls, in smoke-filled cinemas, arguing and getting drunk and watching gimcrack performers, and…
… she then brought this feel for the weird and the strange and applied it to everyday life. She found herself able to detect the strange and unsettling quality of the sideshow contortionist in random passersby, the pathos of the fat lady in the passengers in a parked taxi cab, the mystery of the circus dwarf in a middle- aged woman on a bus, the glittery pathos of the transvestites in the face of a boy about to cross the road.
Somehow, what should be everyday people and banal scenes become charged, through her lens, with a tremendous sense of weirdness and strangeness.
Lady on a bus, New York City (1957) Courtesy The Metropolitan Museum of Art, New York © The Estate of Diane Arbus, LLC. All Rights Reserved
It's just a woman of a certain age in a fur coat on a bus, what's so strange about that?
Well, in Diane Arbus's hands, lots. Everything about this image has become strange and unsettling. It's as if she had bottled the weird, edge-of-humanity vibe she had found down among the midnight sawdust and sweaty changing rooms of the circus midget and the transvestite performers, and then come back to the ordinary, everyday world of the bustling city and stealthily blown it onto passersby, transforming everyone she pointed her camera at into the stars of some obscure, unfathomable but deeply eerie storylines.
Through her lens they all become aliens caught in the act of… of doing something… of being something… strange and incommunicable.
Boy stepping off the curb, N.Y.C. 1957–58 © The Estate of Diane Arbus, LLC. All Rights Reserved
A boy stepping off a kerb, what could be more mundane and boring, right? Except that in Arbus's hands – through her eye – transmuted through her ability with camera and print – this kid seems to be a representative from another planet. Or to be hinting at strange unsuspected depths, of mysteries which can never be fathomed, right here, in this hectic, over-crowded city.
And so it is with a huge tranche of these images, even the most thoroughly ordinary – a girl with a pointy hood 1957, a woman with white gloves and a pocketbook 1956, a woman carrying a child in Central Park 1956 – all are super-charged with rare meaning and some kind of fraught but invisible symbolism, felt but not understood.
She was dead right when she said:
I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me but I really believe there are things which nobody would see unless I photographed them.
Very subtle, but very very powerful.
A box of ten photographs
She didn't stop photographing the weird and the uncanny. Well into the 60s she was photographing giants and midgets and twins. But as the 1950s turns into the 1960s, you can watch how she perfected her ability to capture the ominous quality of people doomed to be outsiders, losing the grainy look of the 50s and producing images which are much clearer, starker, all the more moving for their bluntness – and at the same time more and more subtly injecting that freak quality into deceptively 'ordinary' scenes of everyday life.
In a change to the white pillar layout, a room to the side of the main exhibition is devoted to one of her last works, a limited edition portfolio containing just ten of her photographs which she considered her best. Beautifully printed and presented, the limited edition boxes were priced at a thousand dollars apiece!
All ten of the photos she selected are on display here, and include several of her greatest hits, such as the identical twins.
Identical twins, Roselle, N.J. 1967
Also included are A Jewish giant at home with his parents in the Bronx, N.Y. 1970, the Mexican dwarf, the King and Queen of a Senior Citizen dance, and the boater-wearing young man who is a supporter of the Vietnam war.
In just these ten shots you can see her major subjects recapitulated: circus freaks, grotesque chavs, transvestites (the guy with curlers in his hair), the everyday weirdness of the middle-aged nudist couple in their living room.
Posed weirdness against spontaneous unease
So far so obvious. But the image I liked most from the set was of the youngish couple lying on loungers in their big garden while junior plays with a paddling pool in the background.
A Family on Their Lawn One Sunday in Westchester, N.Y. 1968
The wall label tells us that her friend, the photographer Richard Avedon, bought two of the boxes, one for himself and one to give as a gift to the film director Mike Nichol.
Now Nichol has made a whole rack of excellent films, but that image of the couple on their loungers reminded me strongly of The Graduate from 1967, starring then unknown actor Dustin Hoffman, alongside Anne Bancroft and Katharine Ross. The Graduate is set in wealthy suburbia, is a story about people with nice houses with big gardens and swimming pools, and powerfully conveys the smothering politeness of American middle-class life which you only had to scratch the surface of to reveal a seething underworld of jealousies and animosities, lusts and betrayals.
It's a very uncharacteristic photo for Arbus. Not urban, city streets, not at night. A suburban garden. Yet somehow (to pursue my thesis of her ability to find the weird amid the banal) the couple's awkward pose and their strange indifference to their rummaging child, conveys – to me, at any rate – just as much un-ease, as much edginess, as a photo of, say, the spooky twins, or another one nearby, the kid with the hand grenade.
Child with Toy Hand Grenade in Central Park, N.Y.C. 1962
This is a famous photo. It has its very own Wikipedia article. After getting talking to him in the park and getting his parents permission to photograph him, she circled him getting to adopt different faces and poses, before selecting the one where he's pulling the funniest face and looking, well, weirdest.
In the later photos, the exhibition gives us an increasing sense of the photographer arranging, engaging with and posing her subjects like this, a change from the more casual, fly-on-the-wall street photography of the 50s. They become more clearly framed and shot. It's after the period covered by the show, from 1962 onwards, that she produces the images she's most famous for.
But this, I think, is why I like the couple in the garden – it's obviously been set up but it's not a pose, it's one among, presumably, a set of shots, and yet it captures very well the quality I'm on about – the more subtle end of her work, the capturing of dis-ease in the midst of the what ought to be the everyday.
There's another aspect to the Child with a toy hand grenade photo. The boy's name was Colin Wood. Years later he gave an interview to the Washington Post about the experience of being photographed by Diane Arbus.
My parents had divorced and there was a general feeling of loneliness, a sense of being abandoned. I was just exploding. She saw that and it's like… commiseration. She captured the loneliness of everyone. It's all people who want to connect but don't know how to connect. And I think that's how she felt about herself. She felt damaged and she hoped that by wallowing in that feeling, through photography, she could transcend herself.
It would be easy to take this testimony and what we know about her unhappy childhood, to conclude that alienation and disconnect is the single dominating and defining quality of her photos.
It's a powerful interpretation because it does, in fact, eloquently express the look in the eyes of all those transvestites, midgets and so on, the taxi drivers, the woman with white gloves and a pocketbook standing marooned on the sidewalk – people who seem somehow abandoned in the middle of their own lives.
But I tend to shy away from interpretations of books or art which focus solely on the psychology of the creator. Obviously it's important, often decisive, but it is never enough. For me the most important thing is the work itself, the book and the words or the art and the images. The interest for me is in deciphering how it works, why it moves and transports us, in analysing the choice of subject, the maker's skill with composition, framing, lighting, with contrasting effects of graininess or smoothness and so on.
It may be that the haunted loneliness in Diane Arbus's personality sought, drew out and depicted the fellow loneliness she found in the people she photographed. But this psychological sympathy isn't a sufficient explanation for her achievement. The same, the ability to coax secrets from subjects, might be said of social workers or therapists.
Any full explanation of the photographs' impact must not lose sight of the fact that she was a photographer of genius. It is because she was a superb technician that her personal vision of the world didn't die with her but is preserved in literally thousands of haunting photographs (some 6,000 at the most recent count).
The rise of weirdness
Looking at all these images of shabby circus performers and seedy changing rooms suddenly made me think of the cover art of The Basement Tapes by Bob Dylan. In the same year as Arbus shot the Identical twins – 1967 – Dylan retired to Woodstock where he and the Band made home tape recordings of scores of songs which were later released on the album titled the Basement Tapes.
The album cover (in fact created a decade later) is an effort to depict the surreal cast of characters who wander through the forty or so songs Dylan wrote that summer, a deliberate invocation of the circus world of bizarre and offbeat performers – a ballerina, a strong man in a leopard skin, a harem odalisque, a fire-eater, a midget, a fat lady.
It feels as if the rich vein of American weirdness which Arbus mined in her very personal photos from the late 1950s onwards was somehow destined to become part of the pop mainstream less than a decade later.
Cover of The Basement Tapes by Bob Dylan (1975)
Arbus's photos progress from a film noir and Naked City world of the late 1950s – distilled in her grainy shots of empty bars, barber shops, Coney island fairground lights and so on – to a much clearer, early-60s aesthetic which presents its subjects much more openly, candidly and vulnerably.
But I couldn't help thinking that in both incarnations, she eerily anticipated what by the mid-1960s had become a very widespread interest in outsiders, freaks, the circus, transvestites and the rest of it.
In 1957 the word 'freak' meant someone suffering a deformity of body or mind, unacceptable to the average smartly-dressed, Middle American family. But just ten years later, the word 'freak' was being used to describe the pioneers of a new Zeitgeist, the trippy, zoned-out prophets of new ways of seeing and living. As soon as I hear the word 'freak' I think of the cartoon characters, The Fabulous Furry Freak Brothers, who first appeared in 1971, and the whole freak aesthetic went on to have a long dwindling afterlife in the 1970s.
From what I read Arbus herself was never anything like a hippy or flower child – but she was certainly way ahead of the curve in her obsession with freaks and outsiders. And in her ability to find the freakish and the uncanny in the everyday, she had nailed and defined a whole thread of Americana before its emergence into broader pop culture a few years later.
Cover of Strange Days by The Doors (1967)
Not just illuminating 'some slight corner on something about the quality of things', Diane Arbus pioneered a whole way of seeing America, the world and modern urban life which shed light, not only on the obviously weird and bizarre (what she's famous for), but also suffused countless banal and everyday scenes with wonderfully strange and ominous undertones.
What a great exhibition. What a brilliant photographer.
diane arbus: in the beginning continues at the Hayward Gallery until 6 May 2019
Everything Was Moving: Photography from the 60s and 70s @ the Barbican (November 2012)ci
by Simon on March 7, 2019 • Permalink
Posted in America, Exhibition, Photography
Tagged A box of ten photographs, Andy 'Potato Chips' Rotocheff, Bela Lugosi, black and white, Bob Dylan, Circus, Coney Island, Depression, Diane Arbus, female impersonator, freaks, Hayward Gallery, Identical twins, Jewish giant, Mexican dwarf, New York City, photography, Richard Avedon, Sunny South Syncopators, The Doors, waxworks, Weegee
Posted by Simon on March 7, 2019
https://astrofella.wordpress.com/2019/03/07/diane-arbus-in-the-beginning-hayward-gallery/


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Chris Carosa has been writing a weekly article and monthly column for BenefitsPRO online and BenefitsPRO Magazine since 2011 and is a nationally recognized award-winning writer, researcher and speaker. He's written seven books, including From Cradle to Retire: The Child IRA; Hey! What's My Number? – How to Increase the Odds You Will Retire in Comfort; A Pizza The Action: Everything I Ever Learned About Business I Learned By Working in a Pizza Stand at the Erie County Fair; and the widely acclaimed 401(k) Fiduciary Solutions. Carosa is also Chief Contributing Editor of the authoritative trade journal FiduciaryNews.com and publisher of the Mendon-Honeoye Falls-Lima Sentinel, a weekly community newspaper he founded in 1989. Currently serving as President of the National Society of Newspaper Columnists and with more than 1,000 articles published in various publications, he appears regularly in the national media. A "parallel" entrepreneur, he actively runs a handful of businesses, including a small boutique investment adviser, providing hands-on experience for his writing. A trained astrophysicist, he also holds an MBA and has been designated a Certified Trust and Financial Advisor. Share your thoughts and story ideas with him through Facebook (https://www.facebook.com/christophercarosa/)and Twitter (https://twitter.com/ChrisCarosa).
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